Features
We spoke with Lily Mercer, Jamie Anderson & Valerie Grant, 3 of the ISA’s top 25 screenwriters to watch, about their screenwriting endeavors.
Taxi Driver is a complex film in the way it presents a relatable character and then shows the increasingly erratic choices that he makes.
For Dinner With Dames #11, Cinefemme gathered women filmmakers to dine with Rachel Shane, Chief Creative Officer at OddLot Entertainment.
Magic Mike XXL is a film that, while fun and sexy, also doesn’t shy away from greater themes like religious symbolism and imagery.
Every year, between five to ten movies are bestowed the honor of being nominated by…
It’s almost Halloween, so the Film Inquiry writers tell about the films that truly scared them. Even traumatised them.
In this in-depth analysis of the revelations of abuse of women in Hollywood, we consider how we got here, and what we can do.
In the final week at Adelaide Film Festival, Alex Lines recalls some of the films he saw, including documentaries & inspired foreign dramas.
Amir Bar-Lev’s 2007 documentary My Kid Could Paint That isn’t about the real life art world scandal; it’s an exploration of the author’s irrelevancy.
Emily Wheeler reports from the Heartland Film Festival, where she saw films ranging from biographical dramas to documentaries.
Hallow’s Eve is soon upon us, so it’s time to revisit our favorite horror classics. We consider what makes the 1978 Halloween work so well!
Alex Arabian spoke with Paul Haggis, writer of Oscar winning films such as Crash and Million Dollar Baby, and honoree of EMIFF.
Premiering back in 2004, Saw is a landmark horror film, launching a multitude of sequels in addition to an entire sub-genre of horror.
We look back at House of 1000 Corpses, Rob Zombie’s brutal directorial debut that has since become a cult film in the horror world.
Hollywood is not the only city to leave a lasting mark on the world of…